Nat EvansSeattle , WA
Seattle sound artist and composer Nat Evans creates site-specific events that fuse nature, community and subjectivity of experience, electro-acoustic works for interdisciplinary projects, as well as concert works for chamber ensembles. His work is regularly presented across the United States and has also been performed in Europe, South America, Australia and China. Evans has received numerous commissions including the Seattle Percussion Collective, the Harrison Center for the Arts, The Henry, Odeon Quartet, The City of Tomorrow, Portland Cello Project, ALL RISE, The Box Is Empty, and the Indianapolis Museum of Art, among others. His music has been featured on a number of radio stations in the United States, WNYC’s New Sounds with John Schaefer, as well as BBC3, and in the 2011 Music Issue of The Believer. He studied music at Butler University with Michael Schelle and Frank Felice.
A video profile of Nat Evans by New Music Box
Excerpts from Hungry Ghosts
Hungry Ghosts was originally commissioned by the Indianapolis Museum of Art and performed in boats floating on a lake, illuminated by floating paper lanterns. For this performance, a small ensemble performed deep in the woods of Ravenna Park in Seattle, the audience providing light with hand-held candles.
The music of Hungry Ghosts is based on the ancestor/lantern festivals that happen in Asia, such as Obon in Japan, and it reflects the musical ancestors of the composer.
Music for Breathing
Music for Breathing grew out of those observations of the natural world built up over time while being held back by asthma. There are moments of guided improvisation, short soloistic moments for each instrument, and also some opportunities for the wind quintet to play conch shells and stones – a ritualistic flourish in dialogue with the esoteric Buddhist sect the Yamabushi – moving along sacred trails and chanting and blowing conch shells.
In the Pacific Northwest underneath the decommissioned Fort Worden is a 2 million-gallon concrete cistern, now empty, that has a 45-second reverb time. And its impact on experimental music has...
Environmental degradation and cultural annihilation aside, the total combination of sounds on the PCT is something that is interesting and wondrous to behold. There’s often a special kind of beauty...
Day-dreaming drifting time is the luxury that I have out on the trail. Instead of my usual pattern of working on four or five things at once, I work on...